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universe. They say that for every life there is a death, and for every death a life... His words hang in the air. An ominous BREEZE enters. MORTICIAN Solus novus anima licet evinco mortis; Only new life can defeat death.
(off their confusion) The list of life is forever set by the Divine Plan, the guiding hand that plots the course of the universe, down to its tiniest elements. Thomas looks to Clear; what's he talking about? The Mortician focuses on Kimberly as if the others had ceased to exist. MORTICIAN The list accounts for every life; from the dawn of man to the great apocalypse. But the introduction of life that was not meant to be, a soul forbidden to roam the earth, that could invalidate Death's list, shatter its very existence. Evan's other eye POPS, startling Thomas and Kimberly. THOMAS What the hell does that mean? MORTICIAN (with finality) To figure that out you'll have to follow the signs. The Mortician grabs Kimberly. MORTICIAN But be warned. To disrupt the grand design is to unravel the tapestry of the universe. When you pull all the threads apart, you may find yourself hanging from them. The Mortician finally lets Kimberly go. CLEAR One last question. Why is Death working backwards this time? The Mortician glances at his watch - Evan's brand new Rolex. MORTICIAN (shakes head; a sick smile) Sorry, time's up. EXT. GAS STATION - DAY CLOSE UP - GAS DRIPPING From the nozzle in Thomas' car. Thomas fills the tank, watching for signs of danger. Clear's hand is poised over the gas pumps' EMERGENCY CUT-OFF VALVE Some SKATE RATS exit the mini-mart with a pack of Camels, followed by Kimberly, who carries a couple of Red Bulls and hands them out. THOMAS New life defeats death? Follow the signs? Where the hell did you find that guy? KIMBERLY Yeah, I thought he was supposed to be helpful.
He was. If we can use your ability to see the signs, we can cheat Death long enough to figure out what "new life" means. (off their looks) I know, it worries me that I understand him. Thomas tops off the tank. Some gas spills to the ground. Quick looks all around -- sure enough, one of the Skate Rats is about to strike a match. CLEAR'S HAND SLAPS the kid in the back of the head, stopping him mid-motion. CLEAR What the fuck are you thinking? The startled Skate Rat shrinks back from Clear's rage. SKATE RAT I'm thinkin', suck my junk, bee yatch.
Thomas chuckles to himself and looks at Kimberly who -- SMASH CUT TO: EXT. LAKE - DAY POV DRIVER. Grease-covered female hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE! The van crashes through a railing and PLUNGES into the water. In moments, the van fills with water, the driver inside trapped. Drowning. Horrible. SMASH CUT TO: INT. GAS STATION - DAY KIMBERLY Comes to Thomas' arms - GASPING uncontrollably for breath. Terror-stricken. She begins hyperventilating. THOMAS
What is it? What did you see? It's so bad, Kimberly can't speak. She coughs and gags as if recently drowned. Clear scans the perimeter for immediate dangers. QUICK CUTS: A POWER REPAIRMAN On a cherry picker messes with the transformer, a LAWN BOY pull-starts a WEED WHACKER close to broken glass, a MECHANIC on a tall ladder changes out the gas price numbers, a female DOG WALKER with three dogs approaches the ladder. CLEAR
You have to tell us now. KIMBERLY I...I...
Clear shakes her head by the shoulders and barks commands like an angry drill sergeant. CLEAR
You're strong. Do you hear me? You're a fucking warrior. Nothing scares you. In fact you happen to be the single most powerful woman on earth. Now what did you see? The words slowly take affect. Kimberly becomes centered, getting her breath back, and speaks without a hitch. KIMBERLY I was driving a white van. It must've gone out of control because it crashed into a lake and I drowned. It was...horrible.
You were there? KIMBERLY I can practically taste the water in my throat. And something else. The smell of flowers... CLEAR (confused) Then it wasn't just a sign. It was a premonition? Thomas gently releases her, paces. THOMAS
Remember the onramp? There was a pregnant woman in a white delivery van.
Holy shit. He said "only new life can defeat death." (off looks) If she gives birth to a baby that was never meant to be born, a brand new soul that was never part of Death's Design... KIMBERLY It throws the entire Death list out of whack. And a new list has to be rewritten from scratch. We all start over with a clean slate.
It sounds all well and good, but what if we're wrong?
Please, what else could it mean? KIMBERLY (to Thomas) So if you give us the pregnant lady's number, we can warn her about the lake and she'll live long enough to have the baby. CLEAR So let's do it. THOMAS (realization) Shit, I don't have her number. She was never interviewed. She took off right after the accident.
How are we going to find her? There must be thousands of white vans in this state. THOMAS Hey, I'm a police officer, remember? INT. A/V ROOM - POLICE STATION - LATER Thomas works a VCR, scanning BACKWARDS through the video footage from the patrol car camera. We see the SUV's explosive collision with the jack-knifed semi. Kimberly is taken by surprise by the sight of the crash. KIMBERLY
Oh God... Thomas sees Kimberly and quickly flicks off the monitor. THOMAS I, uh...sorry. Kimberly notices Clear watching her and toughens up. She forces back the tears and quickly wipes the rest away. KIMBERLY
I know, I know. We need my eyes. Clear sits beside Kimberly. CLEAR It's all right. I'll take watch. Kimberly looks grateful, and a moment passes between them, but she's already buried the need to cry. KIMBERLY
I'm okay. Just caught me by surprise. Put it back on. Clear does, watching the cars seemingly pass in reverse. CLEAR
Make sure all these people will be at the meeting tonight. THOMAS Taken care of. THE MONITOR Back, back, back until the Patrol Car slowly creeps backwards down the onramp. KIMBERLY There it is. THOMAS Got it.
Thomas hits play and we see footage from the patrol car cruising past the White Van. A clean shot of the license plate. Jackpot. As Thomas slides his chair to a data base and types in the plate number, the pause function dislodges, slowly advancing the tape frame by frame. CLEAR I don't get it. Why is everything happening so fast? After Flight 180. A month went by before anyone died. And now five people are dead in less than a day. Thomas' computer screen finally fills with information. THOMAS
Here we go. The vehicle's a delivery van registered to Jorge and Isabella Cruz. And Christ, there's almost a dozen domestic disturbance complaints on these two.
We need to hurry. They all get up and leave. Ominously, THE MONITOR shows the NEXT VEHICLE creeping behind Nora's Pacer - a white van! INT. CRUZ HOUSE - NIGHT Thomas pulls up to an upper-middle class house. Thomas, Kimberly and Clear get out and start up the unlit path. It's dark, hard to see where they're going, so they negotiate by feeling the bushes aligning the walkway. THOMAS
Let's lay this on her gently now. The stress alone could upset the pregnancy. Kimberly nods, ever creeping closer to the front door -- when AUTOMATIC LIGHTS FLASH from over the garage. All three freeze for a moment, during which we hear STOMPING emanate from within the house, and the lights SHUT OFF. But nothing else happens. No one comes to a door. Thomas sighs, and as if suddenly remembering his status, he walks fearlessly and purposefully to the front door. He makes a fist, is about to knock - when the DOOR FLINGS OPEN and a ROTTWEILER LUNGES for his throat - only to have its collar snagged at the last second by its owner - JORGE CRUZ, late 30's, handsome, cocky. He speaks above Rotty's BARKING: JORGE What?
I'm Officer Burke. I'm looking for an Isabella Cruz. Suddenly, with an unexpected fury, Jorge SCREAMS at his dog. JORGE
Shut up!!! The Rottweiler cowers, and Jorge shoves it to the floor, where it lands on its feet and fearfully trots away. Jorge's face is once again pleasant, but it's a thin veneer. Jorge sees Clear and Kimberly behind Thomas and frowns. THOMAS
Are you Jorge Cruz? JORGE Maybe. What's this about? THOMAS May we come in? JORGE No. What's this about? ANGLE ON CLEAR - eyeing what appears to be DROPS OF BLOOD on the tile floor. She takes in what she can see of -- THE ROOM As if a tornado had hit it. Wedding photos smashed and torn. Furniture over-turned. THOMAS
(a little stern) It's about your wife, Isabella. Now is she here? Jorge's eyes flicker ever-so-involuntarily behind him. JORGE No. I'm alone. But by now, Thomas has seen everything Clear has and more. He stares through the house, into a bedroom and sees - A FEMALE FOOT lying half0buried under the bedspread. THOMAS Look, pal, it's probably nothing. But I need to see -- Jorge is already closing the door. JORGE Forget it. You'll need a warrant. I know, I'm a lawyer. Clear rushes the door, shoulders it and expertly wriggles past Jorge's grasp. JORGE Stop!!! You can't go in there!!! Clear tears into the bedroom, grabs the bedspread and THROWS it to the floor to reveal a YOUNG WOMAN, naked, trembling with fear, takes a closer look at Clear. YOUNG WOMAN We never meant to hurt you Isa...You're not Isabella! Meanwhile, Jorge yells at Thomas. JORGE
I'm going to sue your ass! KIMBERLY Whose blood is that on the floor? Defensively, Jorge holds up his arm. Freshly cut. JORGE
Mine, you idiot. The dog went nuts this afternoon. Now arrest her! KIMBERLY Where's Isabella? Did you finally kill her you fucking wife beater? Jorge flinches. It's time to come clean. JORGE We had a fight. Some things got broken, the dog went crazy, she left me. Wouldn't say where she was going.
What was the fight about? JORGE Take a guess. THOMAS Does she have a cell phone? A way we can contact her?
She did.
He eyes a SHATTERED CELL PHONE on the floor. CLEAR
We're wasting time with this piece of shit. Let's just get to the meeting. Jorge turns to soothe the frightened Young Woman in the bed. JORGE Hey, when you find her, tell her the kid's half mine. Clear mutters something as they exit the house. CLEAR We can only pray it doesn't come out retarded. Jorge hisses something at the Rotty, which CHARGES them and SPRINGS! But Thomas slams the door on the frothing dog just in time. DISSOLVE TO: EXT. THOMAS' APARTMENT BUILDING - NIGHT Rory sits in his Chevette outside an apartment building, staring up at the address. He quickly snorts some powder off his key and wipes his nostrils free of crystals. He takes a breath and exits the car. INT. THOMAS' APARTMENT BUILDING - NIGHT Rory follows some PEOPLE into the elevator. The elevator doors close on his shoe -- trapping Rory in an awkward position. One MAN frantically pushes the DOORS OPEN button to no avail. Finally, as the elevator rises, Rory YANKS his foot free. MAN Jesus Christ. I wrote to management two weeks ago about these friggin' bumpers. Rory bends down and inspects his shoe. RORY
Damn, is that dogshit? Rory briefly holds the shoe too close to the Man's face - see? - before disgustedly slipping it back on. DING. The doors open. The man hurries out and the elevator DOORS CLOSE on Rory's smirking face. HARD CUT TO: INT. THOMAS' APARTMENT - LATER REVEAL - Nora, Rory, and Kat, mortified, sit on a couch. It's obvious the bomb's been dropped, reality has set in. Clear and Kimberly await their reactions. Nora raises a trembling hand. NORA Does anybody have a Valium? Kat opens her purse and hands her a blue pill. KAT
You'll want to take -- Nora pops it in her mouth. KAT -- half of that. Nora chews, her eyes half dead from bereavement. Across the loft, Thomas paces, phone in hand. THOMAS
(quietly, into phone) Any word yet on the Dodge van? Damn. Eugene alone seems unafraid. He uses a GRABBER - a long pole with movable claw on the end - to OPEN THE SKYLIGHT. When done, he balances the long pole precariously against the wall. An OMINOUS BREEZE enters. Clear notices MAGAZINE PAGES blowing over the desk by the couch. NORA
So that would mean... I'm next. EUGENE Nobody's next. This is crazy. First death's stalking us and now premonitions? KAT This can't be happening. My career's at a peak, I finally met a cute guy, I just bought a new house...
Just shut the fuck up and maybe you'll live. Kat's hands ball into fists. The hatred is mutual. Clear reaches for a nearby cardboard box on the desk, noticing MAGAZINE PAGES blowing over until their weight tips over a PENCIL HOLDER which spills pens out. She takes the box to Nora. CLEAR You're not next, Nora. Nobody has to be next. That's the point. Last time, we didn't plan. We weren't organized. Now we can help each other. She reaches into the box and passes out cell phones to Nora and the others. CLEAR
Think what would have happened if Kimberly had been able to warn you with the word pigeons... Nora's head falls. Kimberly senses her anguish and takes over. KIMBERLY The point is, as long as you know what to beware of, you have a fighting chance. It can be beaten. If I call you and say subway, get to a high rise fast. A place where no subway could possibly go, get it?
Everyone nods in understanding. Rory fidgets, sniffling, then POUNDS the table in frustration. Startling Kat. RORY
Why the hell did I ever get on Route 18 in the first place? That's me, Mr. Dumb Fucking Luck. Clear, very alert, looks at the tipped PENCIL HOLDER. PENS ROLL toward the end of the desk, toward a large White Pages directory which hangs precariously off the edge just so. CLEAR Anyone read today's paper? The article on Evan Shaeffer? No one says a word. CLEAR The only reason he was on Route 18 was because he own the lottery and had to collect the winnings. RORY That lucky bastard. CLEAR What about the rest of you? Kimberly, you were driving to Daytona. Was Route 18 your first choice?
The new freeway was faster, but Route 18 was the way my mom used to take, so... They take turns going around the room. THOMAS
Route 18 is Drake's assignment, but he called in sick so I got... (blanches) Drake's never sick. KAT I was my first day of jury duty. EUGENE Jury duty? That's randomly selected by social security numbers.
Random, sure.
What, you think Death planned for each of us to die in the pile up weeks ago? You're nuts. Clear fumes. Rory looks ill and reaches into his wallet. RORY
Last July I dialed a wrong number and got a radio station by accident. They asked me what number means "good luck" in Jewish. KAT Eighteen. And it's "Hebrew". RORY Anyway, I guessed it right and won these. Rory holds up two Yankee tickets. RORY The best way to get to Yankee Stadium is Route 18.
I don't know what's weirder, the dialing a wrong number part or that Death would set you up nine months in advance.
(realization) Whoa, nine months?
Are you thinking what I'm thinking? INT. CHEAP MOTEL - NIGHT ANGLE ON ISABELLA'S PREGNANT BELLY. REVEAL she's lying down, binging on take-out food, while speaking on the motel phone. A disturbing metallic SQUEAK SCRAPE-SQUEAK can be heard, nearly drowning out the SCREAMING COUPLE next door. ISABELLA
Yes, I'd like to report a domestic squabble - my name? Isabella Cruz why, does it matter? I'm at the Super 8 motel. Yes, I own a white van. So what? Just get over here. Isabella hangs up, recoiling at VIOLENT THUMPS against her wall. PULL BACK AND UP TO REVEAL the source of the unsettling SQUEAK is a rickety, wobbling CEILING FAN. INT. THOMAS' APARTMENT - NIGHT Kimberly whispers into the phone. KIMBERLY I'm sorry, Dad, we're having a hard time with Shaina's eulogy. I'll stay here at Virginia's tonight and see you tomorrow. I love you too. She hangs up, looking guilty for having lied to her father. Clear keeps her eyes on the pens that ROLL on the slightly canted table into the about-to-fall White Pages directory. CLEAR Remember everyone, just because Kimberly's got the power doesn't mean we're not all capable of seeing signs to some extent. The pens softly tap the phone book one by one until it lazily tips over and PLOPS HEAVILY onto a GOOSE-DOWN THROW PILLOW. Small feathers from the pillow are carried upwards by the breeze. Everyone in the room watches them rise. RORY
It's like Forrest Gump. They float across the room, ultimately landing on a MOUSETRAP! SNAP! The trap flies over and knocks into the base of the unstable Grabber - which tips and slowly slides down the wall. Clear, in a chair, looks directly above her head at a LARGE SWORDFISH mounted on the wall. The Grabber picks up speed, arcs downward and hits the mounted SWORDFISH. The supporting brackets give, causing the SWORDFISH TO TIP and SLIDE DOWNWARD! Clear lurches back in her chair just in time - the razor sharp bill impales the seat cushion between her legs! CLEAR
Fuck. Should have seen that coming. The institution's made me soft. Clear gets up, carefully easing herself around the swordfish. Eugene isn't quite sure what to make of what he's just seen. EUGENE If Death has got such a hard-on for you, maybe you should get the hell away from us. KIMBERLY We need her. She's the only one who's dealt with this before, idiot!
Kimberly looks self-conscious by her outburst. Clear, however, looks grateful. CLEAR
We're all going to have to open our eyes from now on. Look out for each other. Sleep in shifts. (looks around apartment) And we've got to safeproof this deathtrap. MONTAGE - SAFEPROOFING THE APARTMENT Everyone but Nora and Eugene helps unplug appliances, put out the fire, take down hanging objects, switch off the gas, put sharp objects away, affix padding to chart corners... Kat, placing poisonous cleansers and flammable liquids in a box, nervously pulls out a pack of smokes. Thomas watches as he takes a hanging mirror off the wall. KAT
Screw this. I'm going outside for a smoke.
You think you should? It's not safe out there. KAT So? Nora's gotta bite it before me anyway, right? Kat steps towards the front door, then remembers the cell phone and grabs it just in case. Thomas smiles 'good job' at her. Kimberly, unscrewing the light bulb, looks up when Nora rises from the couch in a stupor and struggles to put on her jacket. Kimberly looks concerned. KIMBERLY
Where are you going, Nora? You okay?
Nora fights the sleeve, dazed and defeated. NORA
Four years ago my husband died. Now Tim. There's nothing left for me. Kimberly stops pouring liquor down the drain. KIMBERLY Don't say that. Once you lose hope, it's already too late. Eugene snickers. Nora looks up, anger surfacing. NORA If it's my time to go, to be in heaven with my family, then I can accept that. KIMBERLY You can't give up. Don't accept Death's plan. Trust me, you can fight this. If we can just survive long enough until that baby is born, we can -- Nora looks more resolute than ever. NORA
If you'll excuse me, I have a funeral to prepare. Everyone looks crushed when Nora heads for the door. Except Eugene, who stands up as well. EUGENE
Yeah, why am I listening to a girl who just got out of the nut house? As Eugene heads out, Kimberly becomes enraged and grabs him. KIMBERLY
Seeing you die once was enough for me.
Whatever. I control my life, not fate.
I'll be sure to put that on your tombstone. Rory presses a cell phone into Eugene's hand on his way out. RORY
Be careful. And even if you don't believe, give this to Nora. INT. THOMAS' APARTMENT BUILDING - NIGHT Eugene pushes the elevator button a thousand times. Nora nervously ties her long hair back in a single braid. INT. THOMAS' APARTMENT - CONTINUOUS The nervous group finishes safe-proofing the apartment. RORY, standing on the couch, pulls a POLICE ACADEMY DIPLOMA off the wall - and slips - stumbling BACKWARDS into the closet. Directory: scripts scripts -> Swiver by Piers Beckley Stef Morgan scripts -> 1 Introduction 2 2 Software Engineering and Software Paradigms 5 scripts -> Theatricals 229 West 28th Street • 11th Floor • New York, ny 10001 scripts -> Host Programming scripts -> Googly written by Mehul Oza May 11, 2009 int. Day dressing room of cricketers scripts -> 4th Revision 2009 Rico Alago scripts -> 1 Introduction to Databases 2 2 Basic Relational Data Model 11 scripts -> The Umbrella Academy: Trade 1 Apocalypse Suite Based on the Comic Book Series by Gabriel Ba and Gerard Way scripts -> Script box for new patient green light case exceptancetm Download 0.72 Mb. Share with your friends:
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